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| After Holland declared its independence, its artists relied on commissions from: |
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In Catholic
Flanders, artistic activity was: |
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| Rubens' success was due to the fact that he absorbed |
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| Anthony van Dyck's fame rests mainly on |
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| Frans Hals' dashing brushstrokes: |
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| celebrate spontaneity and freedom |
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| Rembrandt's late style is characterised by |
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| Van Goyen's landscapes enjoyed great popularity because of its: |
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| reduction to orderly arrangements |
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| The greatest Dutch landscape painter was |
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| Dutch 17th century painters of still lifes |
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| had an ambivalent attitude toward depicted objects |
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| To the French, 17th century French art is |
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| the finest of French Caravaggist painters was |
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| Classicism was supreme in France (when?) |
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| In his representation of human actions, Nicolas Poussin's highest aim was |
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| Claude Lorraine's landscapes stressed |
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| The model of Claude Perrault's east front of the Louvre is |
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| The interior of Palace of Versailles was inspired by |
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| The dome of Hardouin-Mansart's the Invalides, 1680-1691, reflects the influence of: |
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| The tradition of English classicist residential architecture was founded by |
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| Parthenon sculptures were designed by |
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| Pheidias (fl. 490-430 BC) |
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| the disposition of the human figure in which one part is turned in opposition to another part |
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| The Doric order is characterized |
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| an Archaic Greek statue of a standing nude youth |
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| in classical architecture, the recessed, usually triangular area, also called Pediment, often with scupltures |
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| an architectural ornament resembling the leaves of acanthus, a mediterranean plant |
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| the uppermost member of the column |
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| any projecting, horizontal element dividing a wall for decorative purposes |
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| an architectural system based on the column and its entablature |
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| The true arch and its extension, the barrel vault |
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| was vital to roman architecture |
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| Romans made it their chief building technique |
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| Roman architecture differs from the Greek one: |
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| by its monumental ambition |
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| the doric order is always on the ground floor |
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| a monumental arch erected by a Roman emperor in commemoration of his military exploits |
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| Roman Republican portraits |
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| Are images of frightening authority |
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| pictures of historical events |
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| were used on a large scale by Roman emperors |
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| Roman painters striving for illusionistic effects |
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| resigned to the absence of a consistent view of the visible world |
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| nothing on the outside gives any hint of the interior |
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| There was a silver rush in bohemia (when) |
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| The Cistercians separated itself from Benedictines (when) |
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| The Cistercians set up their monasteries (where) |
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| in well-irrigated valleys |
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| A church facade with a gallery of saints originated (where) |
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| in the twelfth century France |
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Term
| At the Sedlec monastery church we are missing bell tower because |
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Definition
| Cistercians loved silence |
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| In Baroque era, the Sedlec church was restored in Gothic style because |
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| the Cistercian order wanted to stress its antiquity |
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| Bones were arranged in the Sedlec ossuary to |
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| demonstrate the beauty of the nether world |
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| Today, Gothic house may be easily recognized by |
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| its narrow facade and wide gate |
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| Big Bohemian cities were equipped with public fountains (when) |
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| House interiors decorated with landscape painting originated around 1500 in |
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| The model of St. Barbora church was |
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| St. Vitus cathedral in Prague |
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| Road with statues in front of the Jesuit college is called "Most" Bridge because it |
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| imitated Charles bridge in Prague |
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| In the visual arts between 1520-1600 |
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| there were several competing tendencies |
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| appealed to a small circle of aristocrats |
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| Pontormo's style characterizes: |
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| The greatest mannerist portraitist is: |
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| The main Venetian Mannerist painter was: |
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| In the paintings of Bassano we find: |
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| In Giovanni da Bologna's scupltures we do not find: |
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| emphasizes picturesque devices |
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| Leonardo's The Last Supper characterizes: |
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| Bramante's Tempietto was built to celebrate: |
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| Michelangelo's David embodies: |
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| Michelangelo's Moses suggests: |
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| Michelangelo's The Sistine Ceiling proves that he: |
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| was deeply a religious man |
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| Michelangelo's The Laurentian Library |
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| takes considerable liberties with classicism |
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| The first High Renaissance painter in Venice was |
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| For Titian's composition is typical: |
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| The first Northerner who shared the free spirit of Italian Renaissance artists was |
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| The first Northerner who adopted the ideal of the artist as a humanistic scholar: |
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| In the North the first great portraitist was: |
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| The greatest of the Netherlandish "Romanists" was: |
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| In the propaganda war, Florence presented itself as new...: |
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| The visual arts ceased to be classed with crafts (when): |
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| The main task of the Early Renaissance artists was to: |
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| Reconcile Classical form with Christian content |
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| The first statue since antiquity that could stand by itself: |
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Definition
| Donatello, St. Mark, 1411-1413 |
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| The first Life Size equestrian monument since antiquity: |
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Definition
| Donatello, Gattamelata, Padua, 1443 |
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| Bruneleschi's main achievement in the dome of the Florence cathedral was: |
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Definition
| the dome in two separate shells |
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| The earliest example of the rational picture space: |
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Definition
| Massaccio, The Holy trinity, Sta. Maria Novella, Florence, 1425 |
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| The first Renaissance treatises on visual arts were written by |
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| For Botticelli's paintings is typical: |
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Definition
| the decorative treatment of the surface |
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| Baroque art was closely connected with |
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Definition
| the strengthened Catholic faith |
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| Caravaggio's paintings were inspired by |
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| In Baroque painting Caravaggism dominated in: |
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| Caravaggio's main Spanish disciple was: |
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| Women began to emerge as distinct artistic personalities (when): |
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| Annibale Carracci propagated in Rome: |
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| Ceiling painting after 1630 is characterised by: |
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| illusion of a limitless space |
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| "S. Carlo alle Quatro Fontane" by Francesco Borromini is: |
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Definition
| controls the space it inhabits |
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| The wave of foundations of towns reached the eastern Central Europe (when): |
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Definition
| in the thirteenth century |
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Term
| The regular network of streets emerged in Czech towns (when): |
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Definition
| in the thirteenth century |
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| Hall churches flourished in the eastern Central Europe (when): |
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Definition
|
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| European church interiors were filled with art objects, which openly linked Christian mythology with historical personalities (when): |
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Definition
| mostly in the 14th-16th centuries |
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| Czech towns prospered in the years: |
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| The advent of gunpowder artillery called for fortifications, which were: |
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Definition
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| From the 16th century on, the typical bastions were: |
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Definition
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| The basic shape of the Renaissance house is: |
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Definition
| a hollow square with a central court |
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| The classical orders appeared on palace fronts in: |
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Definition
| the 15th century Florence |
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Definition
| the painting technique using tones of a single colour |
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Term
| The process of the institutionalisation of aristocracy was complete (when): |
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Definition
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| Rococo flourished foremost in: |
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Definition
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| Jean-Baptiste-Simeon Chardin's paintings represent |
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Definition
| common objects and situations |
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| William Hogarth's paintings are: |
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Definition
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| Call for a return to reason, nature, and morality in art (when): |
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| The author of "Thoughts on the imitation of Greek works" (1755) was: |
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Definition
| Johann Joachim Winckelmann |
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| In Neoclassicism, Caravaggesque tradition was revived by: |
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| David developed his Neoclassical style in Rome: |
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Definition
| before French revolution of 1789 |
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| The creator of Neoclassical portrait sculpture was: |
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| The birthplace of Neoclassicism in architecture was: |
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Definition
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Term
| Neoclassical villas were surrounded by: |
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Definition
| gardens which were carefuly planned to look unplanned |
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Term
| Neoclassicism started to represent the conservative taste in architecture: |
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| Romanticism became art for: |
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| Goya's painting "The Third May, 1808" was painted in (when): |
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| The first painter who painted patients in the insane asylum was: |
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| Eugene Delacroix was above all: |
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| Honore Daumier's paintings demonstrate that Romantic art |
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| did not shrink from reality |
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| The greatest French Romantic landscape painter was |
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| The greatest English advocate of outdoor landscape painting was: |
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| In his landscapes Joseph Turner sought out: |
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Definition
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Term
| For Caspar David Friedrich's landscapes is characteristic: |
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Definition
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| Around 1800, the most famous artist was: |
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Definition
|
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Term
| Karl Friedrich Schinkel's "Greek revival" was connected with: |
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Definition
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| The "Gothic revival" in architecture was connected with: |
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Definition
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